Aglaia Koras, Pianist in Review

Aglaia Koras, Pianist in Review
Weill Recital Hall at Carnegie Hall, New York, NY
October 25,2010
 
 

Aglaia Koras

During the 2009-2010 season, pianist Aglaia Koras continued her Beethoven and Chopin Plus Series at Carnegie Hall’s Weill Recital Hall for the fifth consecutive season, sponsored by MidAmerica Productions. She performed her first all-Chopin 200th Birthday Tribute, also produced by MidAmerica Productions, in May 2010. And continuing her celebration of Chopin, she performed an All-Chopin program at Carnegie Hall on October 25, 2010. The program included the Nocturne in C-Sharp minor, Op. Posth.; the Mazurka in A minor , Op. 7, No. 2; the Nocturne in C-sharp minor, Op. 27, No.1; the Fantasy in F minor, Op. 49; the Barcarolle in F-sharp major, Op. 60; the Nocturne in B-flat minor, Op. 9, No. 1; the Scherzo in B minor, Op. 20; the Etude in C minor (“Revolutionary”), Op.10, No.12; the Nocturne in D-flat major, Op. 27 No. 2; the Polonaise in A-flat major, Op. 53; the Waltz in C-sharp minor, Op. 64, No. 2; and the Sonata in B-flat minor, Op. 35 (“Marche Funebre”). Koras played considerably well throughout, but was at her best in the Nocturnes, Mazurka and slow movements, where her imagination, expansive expression and respect for tradition led the way. Pedaling was tasteful, and the phrasing was lovely. These moments were also filled with attractive dynamic contrasts and shading.

MidAmerica Productions was founded by Peter Tiboris in 1984. Now in its 27th season, MidAmerica is an independent producer of classical concerts, presenting soloists like Ms. Koras, choral concerts, and instrumental ensembles from around the world in New York’s Carnegie Hall, Weill Recital Hall, and at Lincoln Center. To date, MidAmerica Productions has produced more than 1050 concerts, including 320 in Weill Recital Hall. An interesting addition to Koras’ Weill recital program biography points out that Ms. Koras’ musical lineage can be traced to Chopin, as her teacher Horszowski’s mother (who taught Horszowski in his early years) studied with Mikuli, who was a student of Chopin. This all-Chopin program was a welcome survey of his works, a lovely addition to the year-long commemoration of Chopin’s birth. One can only hope that the people of Poland and France (where he is buried) are doing such prolonged, complete tributes.

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by Anthony Aibel  for New York Concert Review; New York, NY

Sahan Arzruni, Pianist in Review

Sahan Arzruni, Pianist in Review
With Cihat Askin, violinist
Zankel Hall at Carnegie Hall; New York, NY
October 7, 2010

Sahan Arzruni - Photo Credit: 2010 FrontRowPhotos.

In a most unusual presentation of music from the Middle East—specifically that of Turkey and Armenia—pianist Sahan Arzruni performed admirably for a full-house crowd at Carnegie’s Zankel Hall. The concert was presented by the Turkish Consulate General in New York. Despite the hall’s somewhat dry acoustics, Arzruni’s playing was riveting from start to finish. He has complete command of the instrument and exudes a quality that lets his audience know that he is a deeply probing musician. Also insightful was his programming, which ties together rarely heard music by Turkish and Armenian composers. Much of the traditional music by Turks and Armenians are rooted in their respective regional dialects, and this concert music reflected the different ways the dialects are spoken—with their varying accents and stresses of phrase.

Some of the composers were familiar names, such as Aram Khachaturian, who was born in Tbilisi. His Poem and Toccata are lovely, as is Komitas’ nicely contrasting Piano Dances. H. Ferid Alnar’s Piano Pieces are evocative, with titles such as “On the Hillside” and “East Winds at the Seashore”, and naturally concludes with a tuneful Folk Dance. Arzruni captured both the traditional and forward-looking qualities in the music.

Sahan Arzruni, pianist and Cihat Askin, violinist - Photo Credit: 2010 FrontRowPhotos.

Guest violinist Cihat Askin made a good impression as well. He performed a work called “Crane” by Aslamazyan, music based on the music of Komitas, which made good programming sense, since we heard a work by Komitas earlier in the evening. Askin played with elegant phrasing and an enthralling spirit. In “Salacak Sarkisi” by Askin himself, he beguiled the audience with his superb technique. He returned with a more familiar composer in Khachaturian’s “Chant-Poeme” and Saygun’s more virtuosic “Demet Suite”. Both artists had great chemistry and consistently impressed the audience with committed, engaging performances. I only wish Askin’s sound resonated in the hall more. Arzruni was masterful and insightful with his performances of Hovhaness’ “Achtamar” and “Lake of Van” Sonata, in addition to his excellent playing in Koptagel’s “Tamzara” and Toccata.

Sahan Arzruni presented a program that can be perceived as an effort to bring the people of Turkey and Armenia closer together artistically. There are many common traits…and unique differences as well.

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by Anthony Aibel  for New York Concert Review; New York, NY